Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Gambia and from Stockholm.
But I was there.
I was there in 1975.
I was there at the first Throbbing Gristle show in London.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1964 to 1978.
I'm losing my edge.
To all the kids in Manchester and Mexico City.
I'm losing my edge to the art-school Taipei kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1973 at the first Television practice in a loft in New York.
I was working on the mellotron sounds with much patience.
I was there when Lou Reed started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Model 500 to the jazz kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by John Coltrane. All the underground hits.
All Fat Boys tracks. I heard you have a vinyl of every Notorious Big And Bone Thugs record on German import.
I heard that you have a white label of every seminal funk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a harpsichord and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a The Move record.
I hear that you and your band have sold your chamberlin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a chamberlin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Litter,
Reagan Youth,
Ornette Coleman,
Matthew Bourne,
Peter & Gordon,
K-Klass,
Crooked Eye,
the Human League,
Alton Ellis,
Visage,
Masta Ace, Craig G, Kool G Rap, Big Daddy Kane,
Jacques Brel,
Janne Schatter,
Angry Samoans,
The Last Poets,
Arthur Verocai,
Can,
Michelle Simonal,
the Sonics,
Severed Heads,
Morten Harket,
Todd Rundgren,
Lou Christie,
Alice Coltrane,
Justin Hinds & The Dominoes,
Moby Grape,
Wings,
Joey Negro,
Sun City Girls,
Teenage Jesus and the Jerks,
Kango’s Stein Massive,
Throbbing Gristle,
Matthew Halsall,
Oblivians,
Rakim,
Joe Smooth,
The Kinks,
De La Soul & Jungle Brothers,
Urselle,
The Black Dice,
Section 25,
Fatback Band,
The Red Krayola,
Ice-T,
Jacob Miller,
Angels of Light & Akron/Family,
Nik Kershaw,
Captain Beefheart & His Magic Band,
Cabaret Voltaire,
Crime,
A Flock of Seagulls,
The Blackbyrds,
Peter Gordon & Love of Life Orchestra,
Pussy Galore,
X-102,
D'Angelo,
Thee Headcoats,
Drive Like Jehu,
Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot, Fort Wilson Riot.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.